Howard Hawks was an astoundingly talented director who worked across various genres – we celebrate one of his early films, Twentieth Century.
Howard Hawks was a prolific director in the Golden Age of Hollywood. He directed films across various genres, including the screwball comedy, where he would bring forth alluring female leads who spout fast-talking quips and match their male counterparts with cool-headed intellect and charm.
Whether they were the devilish double of Marilyn Monroe and Jane Russell in Gentleman Prefer Blondes (1953), Rosalind Russell sparring off with Cary Grant in His Girl Friday (1940), and Grant again meeting the whims of the sassy socialite Katherine Hepburn in Bringing Up Baby (1938), these iconic comedies were funny and fervent. Hawks also produced some intriguing femme fatales, most famously seeing Lauren Bacall alongside Humphrey Bogart in film noir The Big Sleep (1946).
Thanks to the BFI, there’s a whole season film season this June dedicated to Hawks and the leading women that were filled with vibrant verve and vivacity. The season, called Razor Sharp, will include many of the above films (and they are all unmissable).
However, I’d like to take this opportunity to talk about an absolutely spectacular Pre-Code gem – Twentieth Century (1934)
I’ve written in this column before about the immense chemistry between Lionel Barrymore and Carol Lombard in Howard Hawks’ comedy in my previous column about great Pre-Code couples. And I shall talk about it again because it is rather splendid.
Billed as a precursor to screwball comedies, and it most definitely was in terms of Hawks’ filmography, Twentieth Century is an absolute battle of wits between tutor and starlet.
Based on a play by Ben Hecht and Charles MacArthur, who also wrote the screenplay here, the film revolves around ailing but archaic Broadway impresario Oscar Jaffe who takes on budding ingenue, and underwear model, Mildred Polka. Transforming her into actress Lily Garland, Oscar and Lily become entwined both professionally and personally. However, Oscar cannot conceal his contempt and jealousy, causing the couple to split. Whilst Lily begins to transcend, Oscar begins to flop and schemes to get her back on his side.
Twentieth Century is teeming with absolute delight. The script is laden with deft dialogue that is spat in these gloriously entertaining, well, spats. The vindictive vernacular makes this film viperous, verbose, and very entertaining.
The script is strong, but it’s the talent that lifts the dialogue off the page almost seamlessly. Lombard and Barrymore are electric together. The former is always such an incredible watch, and his on-screen presence (and profile) is so magnetic. The latter, who had yet to begin her fame as a comedic powerhouse, holds her own against the well-seasoned Barrymore. The pair are so very good at scuffling verbally that when the film ends, you could happily watch them over and over again. A riotously brilliant double act.
At the beginning of filming, Lombard was stiff and stoic, making Barrymore lukewarm to her talents. However, after a one-on-one conversation in which the director told the starlet to be herself, Hawks coaxed out of Lombard an undeniable comedic vigour which continued throughout her career until her untimely death in 1942. She took on leading parts in highly funny films such as Love Before Breakfast (1936), My Man Godfrey (1935) and Nothing Sacred (1937). That last one reunited Lombard with Twentieth Century screenwriter Hecht and My Man Godfrey saw Lombard scoop up a Best Actress nomination at the Academy Awards.
Though the relationship at the centre of the film was absolutely cruel and volatile, the one between actors was not. Barrymore eventually thawed to Lombard. In fact, they became such good friends through their respective careers that when Barrymore’s was in decline, Lombard fought for him to work with her on the film True Confession (1937).
Twentieth Century is genius. Between the charming chemistry of our two leads, the quick and snappy script and taut film direction, it’s a film that I would highly recommend.
Twentieth Century is playing at the BFI Southbank on Friday 16th and Thursday 22nd June.
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Twentieth Century is teeming with absolute delight. The script is laden with deft dialogue that is spat in these gloriously entertaining, well, spats. The vindictive vernacular makes this film viperous, verbose, and very entertaining.
The script is strong, but it’s the talent that lifts the dialogue off the page almost seamlessly. Lombard and Barrymore are electric together. The former is always such an incredible watch, and his on-screen presence (and profile) is so magnetic. The latter, who had yet to begin her fame as a comedic powerhouse, holds her own against the well-seasoned Barrymore. The pair are so very good at scuffling verbally that when the film ends, you could happily watch them over and over again. A riotously brilliant double act.
At the beginning of filming, Lombard was stiff and stoic, making Barrymore lukewarm to her talents. However, after a one-on-one conversation in which the director told the starlet to be herself, Hawks coaxed out of Lombard an undeniable comedic vigour which continued throughout her career until her untimely death in 1942. She took on leading parts in highly funny films such as Love Before Breakfast (1936), My Man Godfrey (1935) and Nothing Sacred (1937). That last one reunited Lombard with Twentieth Century screenwriter Hecht and My Man Godfrey saw Lombard scoop up a Best Actress nomination at the Academy Awards.
Though the relationship at the centre of the film was absolutely cruel and volatile, the one between actors was not. Barrymore eventually thawed to Lombard. In fact, they became such good friends through their respective careers that when Barrymore’s was in decline, Lombard fought for him to work with her on the film True Confession (1937).
Twentieth Century is genius. Between the charming chemistry of our two leads, the quick and snappy script and taut film direction, it’s a film that I would highly recommend.
Twentieth Century is playing at the BFI Southbank on Friday 16th and Thursday 22nd June.
—
Thank you for visiting! If you’d like to support our attempts to make a non-clickbaity movie website:
Follow Film Stories on Twitter here, and on Facebook here.
Buy our Film Stories and Film Junior print magazines here.
Become a Patron here.
